Live albums can capture the raw energy of a concert, showcasing spontaneous improvisations, crowd interaction, and how songs evolve beyond fixed studio recordings. The other side of the coin is that they can be a contractual obligation and become a bit of a greatest hits collection with applause. I`m not fussed either way to be honest but I feel with Peter Murphy that I have skin in the game as I was at The Old Vic Theatre in Waterloo London on February 24, 1982, where his band at the time Bauhaus`s gig was recorded live and immortalised with the release of `Press the Eject and Give Me the Tape`.
The third release on Peter Murphy’s own Silver Shade label is an unreleased show from San Diego’s 4th & B from 2000. The band features Peter’s ex-Bauhaus bandmate Kevin Haskins on drums, Eric Avery from Jane’s Addiction on bass, current Psychedelic Furs man Peter DiStefano on guitar and Doug De Angelis on keyboards. Peter himself plays acoustic guitar on some tracks. By the time of this live show Peter had a wealth of solo material to choose from which is reflected in the setlist.
The concert opens with a cover of `Final Solution` which was written and recorded by David Thomas from Pere Ubu and celebrates its half century anniversary this year. A track about alienation and isolation which PM recorded on his debut solo album `Should the World Fail to Fall Apart`. I have to admit it`s one of my favourite songs and PM really makes it his own. We have in `The Scarlet Thing In You` an expansive, sweeping declaration of dedication and deep romantic commitment from the singer who sounds really at ease and relaxed on this offering.
The previous track and the next five are all from the `Cascade` album which at the time of this live show was the singer’s last studio album so understandably he shared a fair few cuts. `Wild Birds Flock To Me` is a shimmering offering and delightfully reflective and seems to come from a spiritual awakening. There`s a short spoken word oration midway but this is a real anthemic piece. There`s a deeper sense of romance with `Mirror To My Woman`s Mind` which sounds like somebody who is quite content in themselves.
`Subway` is a slower burn which has all sorts of segments spliced in with spoken soundbites, middle-eastern and aching harmonies, a number that exudes vulnerability. An almost tribal beat leads us into `Disappearing` which is wonderfully heavy and rocky and feels as if it could really explode at any time.
`I`ll Fall With Your Knife` is about self-sacrifice for the sake of love and has some delightfully strange but delightfully compelling percussive effects running through its heart. The bass really comes to the fore around a third of the way through and adds another depth to this deep and heartfelt commitment of love. PM has admitted that `Crystal Wrists` is rooted in a childhood trauma the singer experienced at age four. A track that has a foot tapping texture at times but sways and veers here and there throughout its lifespan.
We have a couple of tracks from the `Holy Smoke` album which was much more angular and art rock like with `The Sweetest Drop` which is a phrase that symbolises a moment of ultimate ecstasy, vulnerability, and emotional release achieved by shedding one’s inhibitions. This number is full of seduction and temptation as it sways along with enticing “ah ha ha`s “. There`s a more reflective feel to `Hit Song` which appears to be a tale of searching for something in this impersonal existence.
`Big Love Of A Tiny Fool` is stripped back with acoustic guitar and vocals and highlights the depth of this artists vocal range as he offers up a real sense of vulnerability on this track. We move to the `Deep` album with a couple of compositions in `Marlene Dietrich`s Favourite Poem` and `A Strange Kind Of Love`. The former is a deeply personal homage to Murphy’s mother via a tribute to the legendary actress Marlene Dietrich, while the latter emphasises that true love exists on a higher plane of consciousness, devoid of typical relationship terror, rage, or lies. Both are stripped back with the singer`s wonderfully emotive and touching rendition of each which allows a heart wrenching experience to be felt and experienced.
`Surrendered` reflects the artist`s deep spiritual immersion into Sufism and mysticism. It signifies a state of divine peace, humility, and the purification of the self by aligning with a higher power and musically it does reflect a sense of spirituality with chanting and middle-eastern instrumentation. There`s a more scornful slant on the late eighties alternative nightclub and clubbing scene with `Roll Call` which has an almost hip hop rhythm and become delightfully funky and absorbing as it progresses.
The set closes out with `Huuvola` which is a phonetic reversal of the phrase “I love you” and a blend of vowels taken from the names of Peter Murphy`s children. The track from `Cascade` is a deeply personal ballad about separation and devotion and has an enticing hypnotic ambience and feels like a perfect way to say goodbye.
If i`m honest I had reservations about reviewing a live album. I loved Bauhaus and have seen them on numerous occasions along with Peter Murphy solo shows and have a few solo albums but have never really invested the time to properly listen to them. But this album really blew me away and I will now dig out Peter`s solo stuff and give it the respect that I should have given it at the time of release. I loved the fact that there`s no Bauhaus numbers here, just a flavour of what the artist was creating at the time on his own terms.
It`s an absorbing listen as there are songs of love, searching for life`s meaning, spiritual learnings, and some more personal meditations. Peter Murphy has and always will be a mysterious and engaging persona and this live album gives a brief snapshot of where he was musically at a certain point in time.
Rating 9/10
